Many want the Government to stop cutting Screen Australia funding but few ask what might happen if more money goes to production via other means.

Co-production treaties, low wages, poor mental health, inadequate training, foreign workers and intellectual property are all raised in submissions.

Some of the biggest challenges of the review acutely apply to children’s content including out-of-date regulation, market failure and commerce vs culture.

Foreign films pushed up activity, TV hours have shrunk over time, local film numbers have grown, and there’s a lot of tangled threads.

Head of Production Sally Caplan explains the thinking behind Screen Australia’s feature film investments and grants.

Screen Australia part funds up to 20 features annually. The key criteria is excellence but there are other matters in play.

Examining the individual decisions made in 2014/15 illustrates how the theory behind the question of what to fund and why is put into practice.

It is early days to discuss sales information on films financed in 2014/15 but here’s how they’re tracking so far.

Two producers. One from French production and distribution company Rockzeline and the other an experienced Australian all-rounder. Both break down their advice about taking original online content global.

Producer Charlotte Seymour dove into the world of web series for the first time with Other People’s Problems.

When Rockzeline formed in 2012, it was as a distributor of online content. They sold projects such as Australian web series The Wizards of Aus to Canal Plus, and helped set up the digital offer of public broadcaster France Télévisions. But in recent years, they’ve expanded into developing and creating their own original productions.

Safe Harbour co-writer and showrunner Belinda Chayko breaks down how they mapped out and wrote the complex, compelling drama – and why television is the home for original Australian voices.